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Topic: practical use of orchestral sample libraries?

  1. #1
    Senior Member
    Join Date
    Sep 1999
    Burbank, CA. US of Mexico

    Re: practical use of orchestral sample libraries?

    What\'s wrong with becoming a complete whizz?
    I use patch changes to change articulations. It seems to work best for me.

  2. #2

    Re: practical use of orchestral sample libraries?

    Don\'t forget about key-switching, either. (Switching between different articulations by playing a particular key in the low register of the keyboard).

    Adv Orch in particular makes great use of key switching, and so does Miroslav and XSample.

    But you\'re better off becoming a complete whizz in any case.

    Speaking of which... feeling a strange urge to go to the bathroom... too many diet cokes

    - Chris

  3. #3

    practical use of orchestral sample libraries?

    How does one make practical use of those huge libraries of orchestral
    samples? (Miraslov, Peter Siedlsachazciechzkaziewiczcek, etc.) It seems to
    me you\'d have to devote like 6 channels to each instrument just to have a
    line that plays a few different articulations and dynamic levels... I\'m
    thinking of getting one of these libraries for Gigasampler, but if you have
    to be a complete whiz just to get a halfway decent sound out of it, I won\'t

    Are there ways to map out patches based on velocity, aftertouch, etc? i.e.
    i play really hard and it plays the staccato patch, I play lightly and it
    plays legato, etc.

    any tips would be appreciated, (i prefer email responses if possible)

  4. #4

    Re: practical use of orchestral sample libraries?

    First of all the basic idea is to have a separate channel for each instrument/instrument group that is playing. So you need as many channels as you have instruments playing at a time.

    A good approach is to reserve 32 channels and to reserve each channel and always the same channel to either instrument.
    Usually you will need 5 channels for the strings (1st Vlns, 2nd Vlns, Vlas, Cell, Basses), 2 for the flutes, one each for oboe, Clar, Ehorn, Bassoon, Trumpets, Fhorns, Trombone, Tuba and one for percussion.
    Also you should reserve channels for extras like bass clarinet, harp, piano etc.
    I´d say that 32 channels fits 99% of the cases.

    To alter expressions you should distinguish between slight changes, dynamics and general changes.

    A slight change for me is e.g. to alter attack to have softer beginning of a phrase, but keeping the overall sound. Typically you will keep the underlying waves.
    I always use a controller to control slight changes.

    For dynamics (p,ff...) you will use velocity to control it and you will probably switch from a p-sample to an f-sample within the same instrument.

    Big changes alter the overall sound of an instrument e.g. from a bowed violin to a pizzicato violin. Or from a soft Cello to a expressive Cello.
    To control this I recommend to use program changes and so to alter whole the instrument.

    I do not recommend to use key-switching for big changes, because with key-switching you can only change dimensions in the same instrument and the number of dimensions is limited. You will need the dimensions to control slight changes.

    Also the number of controllers used should be kept very limited. Otherwise it gets difficult to handle.

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